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Spectropop - Digest Number 1210

               SPECTROPOP - Spectacular! Retro! Pop!

There are 27 messages in this issue.

Topics in this digest:

      1. Re: 60s geniuses
           From: C. Ponti 
      2. Kim Fowley
           From: S'pop Projects 
      3. Re: Brian Wilson Influence
           From: hobielang 
      4. Re: Dick St. John Photo
           From: Bob Celli 
      5. Re: Avantis
           From: Mikey 
      6. Re: The Shadows
           From: Austin Roberts 
      7. Re: Left Banke
           From: Austin Roberts 
      8. Re: Left Banke 45 on Camerica
           From: Mark Frumento 
      9. Re: If I Were the Carpenters. . . .
           From: Mark Frumento 
     10. Re: The Avantis
           From: Simon White 
     11. Re: High Llamas
           From: Stewart Mason 
     12. Re: Lafayettes
           From: Austin Roberts 
     13. Re: The Bayou, DC.
           From: Austin Roberts 
     14. Re: Hollywood
           From: Austin Roberts 
     15. Re: Dick St. John Photo
           From: James Botticelli 
     16. Re: Grass Roots / Hamilton, Joe Frank & Reynolds
           From: Austin Roberts 
     17. Kim Fowley
           From: Eddy 
     18. Re: Stereo 45s
           From: Joe Nelson 
     19. Re: Stereo 45s
           From: Joe Nelson 
     20. Goodbye to Jailbait
           From: S'pop Team 
     21. Re: Arkade
           From: Joe Nelson 
     22. Re: Stereo 45s
           From: Michael Fishberg 
     23. Re: High Llamas
           From: Mark Frumento 
     24. Re: The Shadows
           From: Steve Harvey 
     25. J., not J.J., Cale
           From: Steve Harvey 
     26. Song titles with brackets
           From: Richard Williams 
     27. Re: Ron Dante
           From: Joe Nelson 

Message: 1 Date: Tue, 30 Dec 2003 21:03:55 -0000 From: C. Ponti Subject: Re: 60s geniuses Paul Bryant: > If we're talking about "most influential people" then immediately > James Brown and Lou Reed must be added and probably Brian Wilson > removed (can't think of many people who aspired to be like him or > the Beach Boys, with the notable exception of the barking mad High > Llamas). Granted these are choppily subjective waters, but, in my humble opinion, comparing the work of Lou Reed to the pocket symphonies of Brian Wilson & Van Dyke Parks is like comparing a hot dog with a French feast. C Ponti ------------------------------------------------------------------- Admin Note: This message has been edited. Clearly, C Ponti is no fan of Lou Reed. Rather than generate subjective exchanges, your moderators request that any further discussion on this topic be conducted off list. -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Wed, 31 Dec 2003 13:18:56 -0000 From: S'pop Projects Subject: Kim Fowley New @ S'pop Recommends 'Impossible But True: The Kim Fowley Story' (Ace CDCHD 888) "Parents, lock up your daughters -- Kim Fowley is back in town. ... The fact that he was, either variously or simultaneously, a rock'n'roll anarchist, Dadaist, hustler, B.S. artist, Sybarite, namedropper and foole should not deter us from the realization that Kim Fowley was also one talented mofo." (Phil Milstein) For Phil's full review, click here: Enjoy! The S'pop Team -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Wed, 31 Dec 2003 16:46:55 EST From: hobielang Subject: Re: Brian Wilson Influence Wayne writes: > What I find interesting is that there is a plethora of soundalikes > out there and to my ears always sound like a poor man's version of > The Beach Boys. The harder guys attempt to sound like them the > worst they fare. > > Conversely, there are more artists abroad who cite The Beatles as > amajor influence, yet to my ears fare better, not to supercede the > template, (with respect to The Rutles!) but its as if The Beatles > influence allows broader musical brush-strokes. Again, I think this > is because Brian's musical vision was more exclusively his, (with > due respect to The Freshmen and Chuck Berry and Spector). Don't forget the voices singing Brian's message. There is something that happens when relatives sing together, and it happened here. Factor in the similiarity between Brian's voice and Al's, and the fact that David Marks and Carl Wilson - the two early guitarists - grew up in each others' houses, and you've got a unique blend of common knowledge and influences that the Beatles dind't share - they didn't grow up together. Something else to consider when you look at Brian's music - specifically at the *music, forget the lyrics and the execution - is the fact that it is extremely complex. Sounds simple, yup...but go on. Try to play those songs. The easiest ones are more involved than you thought, and the more involved ones are brain-twisters. There was a unique alignment of the planets when the Beach Boys started making music. Terry Pratchett talks about moments of brilliance streaming through the universe all the time, and almost never landing anywhere. I'd say that one such moment landed in Hawthorne, California in 1961. There's no other explanation. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Thu, 01 Jan 2004 03:06:13 -0000 From: Bob Celli Subject: Re: Dick St. John Photo I wrote: > I've posted a photo taken at a picnic I held on Memorial Day, > 1987 for the tour going through my area in Ohio. The guests > included, Bobby Vee, Brian Hyland, Tommy Roe, Dick and Sandy > St. John (pictured) and Dickey Lee along with Bobby Vee's band, > The Rockin' Ricochettes... Phil Milstein: > A remarkable photo, Bob -- thanks for sharing it with us. The > celebrants look more like office co-workers hanging out on > their day off than touring musicians who'd helped make the '60s > the amazing era that it was...It's reassuring to hear that Dick > was as nice a guy as he seemed... Phil, Thanks for the comments! These guys really appreciated the time off the road. it's really a grind on those tours no matter how long or short they are. I brought Dick in the house and showed him a scopitone that he and Dee Dee appeared in. He told me that he had never seen it and asked for a copy of it which I gladly made. It was at that time that I asked him if he was still in touch with his former partner. He told me that they were still friends and kept in touch periodically. It was at that time that some of the "oldies" were making there way to cd and I had the privilege of playing "Sheila" for Tommy Roe and "Itsy Bitsy" for Brian Hyland from a very well done compilation on MCA. This was the first time either one of them had heard these remastered versions. The Buddy Holly "From The Original Master Tapes cd was also out, and probably the most fascinating thing that happened that day was when I played "True Love Ways" to an audience of Bobby Vee, Tommy Roe and Brian Hyland. As the song was coming to an end I looked at the three artists standing there, their heads all bowed and in complete silence. Quite a scene! Bob Celli -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Wed, 31 Dec 2003 22:16:26 -0500 From: Mikey Subject: Re: Avantis Mike Edwards: > The Avantis - now there's a group, or maybe two. Mike, the "Instrumental" Avantis and the "Keep on Dancing" Avantis were different groups. Mikey -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Wed, 31 Dec 2003 22:36:58 EST From: Austin Roberts Subject: Re: The Shadows Probably because most of the instrumental groups at that time (not all) were surf oriented. Plus there would always be the problem with the Ventures. I heard some of the Shadows' British hits and liked them a lot. Had a friend who had an English friend who would send them to him. We both thought they should've happened here too. We were about 14 and playing in this surf group at school. Best, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Wed, 31 Dec 2003 22:46:41 EST From: Austin Roberts Subject: Re: Left Banke Phil Milstein: > According to legend, Brown wrote "Renee" and "Ballerina" on the > same day (as well as a third masterpiece -- "Desiree," was it? > "She May Call..."?). If this is even close to the truth, it > almost defies belief. I think Desiree is on a par with Renee and Ballerina. Great haunting melody and vocal, but also that super Banke arrangement that was best on those 3 sides, I feel. Also, for some reason I've always liked Ballerina for the same reason that I liked the Bee Gees' Holiday; can't define the reason, just know I feel it. Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Thu, 01 Jan 2004 04:56:44 -0000 From: Mark Frumento Subject: Re: Left Banke 45 on Camerica Steve Harvey wrote: > There was a whole Left Banke LP released in the 70/80s. I don't > think Brown had anything to do with it. He didn't but its a wonderful LP none-the-less... mainly bolstered by Steve Martin's vocals. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Thu, 01 Jan 2004 04:59:14 -0000 From: Mark Frumento Subject: Re: If I Were the Carpenters. . . . Steve Harvey wrote: > Actually "We're Only Just Begun" started originally as a bank > commercial. I always thought "Someday My Prince Will Come" would have made a great commercial for a one-hour photo operation... "some day my prints will come..." -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Thu, 01 Jan 2004 08:35:02 +0000 From: Simon White Subject: Re: The Avantis Mike Edward wrote: > The Avantis now there's a group, or maybe two. A group named > the Avantis cut a superb surf instrumental, "Wax `Em Down" for > Chancellor Records in 1963. This was re-issued on a Pittsburgh > label, Astra, sometime in the 60s. According to Surf Instrumental > guru, John Blair, the group included Pat & Lolly Vegas (later of > Redbone fame). In the same year, the Chess Records subsidiary, > Argo, put out the Avantis' original version of "Keep On Dancin'", > later a hit for the Gentrys. Is this the same group? My understanding is that the "Keep On Dancin" Avantis were a black group, so maybe not. But what a super record it is! -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Thu, 01 Jan 2004 00:46:09 -0800 (PST) From: Stewart Mason Subject: Re: High Llamas Paul Bryant writes: > This is the problem of definition I'm struggling with. On the one > hand you have straight-forward imitators or creators of pastiches > - all of the Gideon Gaye and Hawaii albums by the High Llamas are > brilliant pastiches. The listening experience is like train- > spotting - oh yes, that's the guitar sound from Here Today, > there's the banjo from Cabinessence. It's very clever stuff but > it's somewhat slavish. On the other hand, as you say, you have > the kind of influences which are "so fully incorporated into > shared culture that they're hard to detect". So I guess I'm > looking for a middle way here. To be fair to the High Llamas, a group I admire quite a bit, the idea that they're "straightforward imitators or creators of pastiches" isn't entirely accurate. Even on GIDEON GAYE, their one album that's overtly Brian Wilson-influenced, there are plenty of other obvious influences (especially Steely Dan, particularly on the single "Checking In, Checking Out" and the 14-minute, overtly jazz- oriented "Track Goes By") that keep it from being a Rutle-ization of PET SOUNDS. As for HAWAII, I hear Brian Wilson far less than I hear Ennio Morricone, Kryztof Komeda and other European soundtrack composers of the '60s, by far a much bigger influence on that album but one that's not remarked upon nearly as much simply because most folks are much less familiar with those composers than they are with Brian Wilson. In both cases, Brian Wilson is only one of many, many influences on these albums (I'd argue that Nick Drake and Antonio Carlos Jobim are, in the long run, far more important to the High Llamas' career as a whole), and to claim that listening to them is merely an exercise in empty Beach Boys trainspotting perhaps misses the way in which these disparate influences are combined into a singular whole. More importantly, it's so easy to overstate Wilson's influence on these two albums that any Spectropoppers intrigued by their supposed Xerox- of-SMILE qualities might well be disappointed when they hear them and discover that, frankly, with the exception of a few licks here and there (for example, the main riff from GIDEON GAYE's "The Goat Looks On" is a dead ringer for "Let's Go Away For A While"), they don't really sound much like Brian Wilson at all. (This goes double and triple for the albums that came before and after GIDEON GAYE (1994) and HAWAII (1996): the two prior albums soundmore like XTC than anyone else, the three that followed are heavily influenced by modern European electronic artists like Mouse On Mars, and the most recent, BEET MAIZE AND CORN, is largely acoustic and nearly percussion-free.) S -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Wed, 31 Dec 2003 23:11:03 EST From: Austin Roberts Subject: Re: Lafayettes Thanx for the rest of the lyric. I'd never have remembered. You gotta admit, it is a bit quirky. Austin -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Wed, 31 Dec 2003 23:22:26 EST From: Austin Roberts Subject: Re: The Bayou, DC. Finally, my buddy from Cheverly, Md. reminded me it was the Telstars that I liked so much at the Bayou. More mid 60's, I think. Austin -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Wed, 31 Dec 2003 23:51:11 EST From: Austin Roberts Subject: Re: Hollywood I remember those areas. I once lived in a shack with a banana tree on Selma Ave. somewhere near Sunset and Vine or Hollywood and Vine; can't remember for sure because the two ran parallel to each other. It was probably between the two so Selma (???). Great creative stuff in that area back in those days. AR -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Thu, 01 Jan 2004 01:27:51 -0500 From: James Botticelli Subject: Re: Dick St. John Photo Phil Milstein wrote: > The celebrants look more like office co-workers hanging out on > their day off than touring musicians who'd helped make the '60s > the amazing era that it was. hahahahahaha! My feelings about the 6T's in general. Happy New Year all. -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Thu, 01 Jan 2004 02:28:37 EST From: Austin Roberts Subject: Re: Grass Roots / Hamilton, Joe Frank & Reynolds Glenn: > Oh, you mean the Hamilton, Joe Frank & Reynolds that recorded > "Don't Pull Your Love", a song written for (but turned down by) > the Grass Roots, produced by the Roots' producer Steve Barri, > horns arranged by their arranger Jimmie Haskell, written by their > writers Dennis Lambert & Brian Potter, and on their label ABC/ > Dunhill? OK, you new buddies out there, I need some sympathy on 2 of the 3 things I'm gonna admit to here. No. 1: The Arkade, who had just come off a top 60 or so pop sorta hit (also was top 15 adult contempt charts and it did become the Bridal air jingle everywhere which would have been more opportune for us if it had happened simultaneously with the record) but were asked after the Roots if we wanted to cut Don't Pull Your Love Out to follow Morning Of Our Lives. Well, Price and Walsh were the other two guys in our group as well as writers of several Roots hits like Temtation Eyes, Heaven Knows and others as well as great harmony singers. So as the cocky youngsters we were, we had a meeting with Steve Barri who was our producer, as well as the Grassroots and HJF and R, but they hadn't recorded yet. Got the picture so far? We, in our brilliant Legends In Our Own Minds way, decided not to cut the song. Steve,ever the diplomat, rolled his eyes, which should have set off some kind of alarm with the wonderful Arkade boys but, obviously didn't, took the song in the studio that very night, I think, and cut what should have been the Roots next hit, could have been our hit (though HJF and R sang the hell out of it) but was a career starting record for Hamilton, Joe Frank and Reynolds. Ok, that was the first sypathy call. Here's the second. John Hill (of Are You Ready fame) and I wrote a song called Stealing Love In The Night, which became the last Dunhill single on the Grassroots, who, dammit, had already left the label for Haven. Guess how much push our single got. Now, for the `here's hoping I'm right' part . I think that a song Chris Welch and I wrote called One Word, was on the Move Along album but, I don't have one, so I'm not sure. If anybody has one, please let me know if One Word is on it. I'd be much abliged. Sorry this email is so verbose, but most songwriters are. Happy New Year, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Mon, 29 Dec 2003 18:35:53 +0100 From: Eddy Subject: Kim Fowley I wandered off to the "Spectropop recommends" section, where I noticed a Kim Fowley Story album. I was wondering if anybody had any information on any work Fowley did with Eric Clapton. Reportedly they did some stuff together circa 1966 and I wondered if anybody had any information on what that could have been. Probably a Fowley 45 Clapton guested on, but I'm not even sure anything was ever released. Eddy -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Thu, 01 Jan 2004 07:32:12 -0500 From: Joe Nelson Subject: Re: Stereo 45s > I have read Mercury's pressing plant was ran soooo cheaply that > when the mono mother plates (made to press LP's) wore out they'd > just switch to the stereo mother plate instead of making another > mono mother and press "mono" albums with it. So mono buyers got a > bonus or a LP that wore out very quickly on a cheap mono phonograph. > I have a Walker Bros album on Smash where the first side is mono, > the second side is Stereo! This might also be a later pressing, after Mercury and most US labels dropped the mono format. They'd had some old mono covers printed up and still in stock, so they'd fill 'em with the only things they were pressing (i.e. stereo) and ship' em out. I have a few of these lying around the collection but don't remember offhand if they were on Mercury labels or not. Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Thu, 01 Jan 2004 07:35:14 -0500 From: Joe Nelson Subject: Re: Stereo 45s > Did a little bit of checking and the first all-stereo 45 > from 1967 I have is the Lemon Pipers "Green Tamborine" > (Buddah 23), which hit #1 on Billboard December 23, 1967. All stereo? Meaning no mono counterpart was released? My copy of this is in mono. You might want to check again and make sure you're not confusing it with "Rice Is Nice". Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Thu, 01 Jan 2004 13:14:44 -0000 From: S'pop Team Subject: Goodbye to Jailbait As with all subjective issues, the relatively contentious 'jailbait' thread threatens to run indefinitely. For reasons of space and taste, please let's start the new year without it. The edited contributions printed below will be the last your moderators post on this subject. Thanks. S'pop Team = = = = = = = = = = = = = = = = = = = Bob Wallis wrote: > Boston area group Teddy and the Pandas had a regionally > hit song in 1965 (which bubbled under the BB 100) in the > Bob Stone penned tune "We Can't Go On This Way". Art Longmire: I have this song in a later version by the Unchained Minds (actually I think they spell it "Unchained Mynds") - on Buddah Records. = = = = = = = = = = = = = = = = = = = Matthew: > This is a very subjective topic and you can take a song to > mean whatever you think, hell you can read stuff into a song > that was never meant to be there. Art Longmire: Great list, thanks a lot! I also wanted to add "Cypress Avenue" by Van Morrison on Astral Weeks to the list, as well as "He Ain't Give You None" by Van. = = = = = = = = = = = = = = = = = = = Matthew: > a list of possible jailbait songs: Bryan: I didn't see the Beatles' "I Saw Her Standing There" on the list: "Well, she was just seventeen, You know what I mean..." = = = = = = = = = = = = = = = = = = = Has anyone mentioned Terry Reid's "Super Lungs" or Donovan's version entitled "Super Lungs, My Super girl"? Bill Craig = = = = = = = = = = = = = = = = = = = Phil M > Of course this is no place for a discussion of sexual > morality, but since Glenn brought it up I'd like to point > out that society does (or at least should) make a clear > distinction between sex between near-age partners, and sex > between an adult and a minor. Glenn: I think I'll stay out of this topic from now on, but I'd like to point out that it was not *I* who brought up the subject of sexual morality, but the person who launched the attack on "Young Girl", saying it had "the most.. morally suspect... lyrics... of any HIT single." In the meantime, a parallel discussion, with which I had nothing to do, seemed to be accusing Gilbert O'Sullivan's "Claire" of being paedophiliac in nature, which, IMHO, is ridiculous! I'm sorry, I just find that to be such a wrong-headed interpretation of a tender, innocent song. The song concerns a topic rarely written about, probably for fear of such misinterpretations of the feelings expressed, but it's a topic that should be celebrated, as O'Sullivan did in this song. Glenn = = = = = = = = = = = = = = = = = = = "Go Away Little Girl", originally the '62 smash for Steve Lawrence...... would anyone else agree that's one of the biggest "jailbait" hits of all time? Although his excuse for not meeting with her is "I belong to someone else, and I must be true"; still, I always thought Steve was singing about a teenager! Bobster = = = = = = = = = = = = = = = = = = = I'm surprised the Brianophiles on the list have not mentioned that smarmy song from the BBs "M.I.U." LP that makes me squeamish every time I hear it (especially the nastier demos). The song is "Hey Little Tomboy. Dave Mirich = = = = = = = = = = = = = = = = = = = -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Thu, 01 Jan 2004 07:57:43 -0500 From: Joe Nelson Subject: Re: Arkade Austin Roberts wrote: > OK, you new buddies out there, I need some sympathy on 2 of the 3 > things I'm gonna admit to here. Not quite so earth shattering, but since we're playing confessional... Before I was aware of Arkade at all much less Austin's connection to the group, I found a copy of "Morning Of Our Lives" among my daughter's 45s and decided to give it a spin. First I did a web search and came up with several references to an earlier release, "Rhythm Of The People" b/w "Woman In My Life (Dunhill 4235). Since ROTP was also coupled with "Morning" on Dunhill 4268 I just assumed it was the same song released twice with different couplings and put "Morning" in my database as a B side! I'm still assuming they're both the same take. Of course, both songs sound like A sides to me. Thanks for everything, Austin! Joe Nelson -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Thu, 01 Jan 2004 05:49:25 -0800 (PST) From: Michael Fishberg Subject: Re: Stereo 45s Bill Craig wrote: > What was the first single released in stereo? > I'm thinking "Touch Me" by the Doors, or possibly > "Alone Again Or" by Love. I have a stereo white label test 7" on UK Pye records dated (c) 1957 with the usual ping-pong and train sounds. RCA Victor were recording true stereo from 1952 in Avery Fisher Hall with the likes of Fiedler & The Boston Pops, so that when the means of commercially manufacturing and reproducing stereo records came about, they were ready for their big slew of releases. I also recall some correspondence in Billboard magazine in the early 60s that had record execs saying that they couldn't for "technical" reasons, manufacture 45s in stereo. Michael Fishberg -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Thu, 01 Jan 2004 15:05:17 -0000 From: Mark Frumento Subject: Re: High Llamas Stewart Mason wrote: > As for HAWAII, I hear Brian Wilson far less than I hear > Ennio Morricone, Kryztof Komeda and other European soundtrack > composers of the '60s I'm not a scholar of European soundtrack composers but I do love Morricone's work especially his soundtrack to "Duck You Sucker" (aka A Fist Full of Dynamite). A good portion of Hawaii struck me as imitation of that soundtrack (perhaps others?). Does anyone know much about Morricone's influences? It would be hard to believe that he didn't know "Pet Sounds" and other Brian Wilson songs. "Duck You Sucker" also has a strong Burt Bacharach melodic feel to it. -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Thu, 01 Jan 2004 09:31:05 -0800 (PST) From: Steve Harvey Subject: Re: The Shadows When I met Bob Bogle at a rare Philly Ventures appearance I asked him if they'd ever thought about recording an album with the Shadows. He said the closest they ever got was meeting Bruce Welch over in Japan. Still, the idea would make a cool battle of the bands concept. -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Thu, 01 Jan 2004 18:13:18 -0000 From: Steve Harvey Subject: J., not J.J., Cale I had the pleasure of playing John Cale's "Mr.Wilson" for Brian in 1978. Brian could have cared less about the tune. Mentioned it to John Cale at a later date and he replied, "I bet he thought it was sarcastic". Despite me telling him that Brian said nothing about the tune, Cale's remark ended up in the double CD set, The Island Years, as more misinformation. Oddly enough, the only thing that got Brian's attention was the Kit Kats' version of "You're So Good To Me". -------------------[ archived by Spectropop ]-------------------
Message: 26 Date: Thu, 01 Jan 2004 18:32:49 +0000 From: Richard Williams Subject: Song titles with brackets During the sessions for "Happy Xmas (War Is Over)", John Lennon pointed out the brackets in the song's title and said it was one of those pop-music habits that he liked a lot. Among his ambitions, he said, was to write a song with a title using one word repeated twice, like James Brown's "Please Please Please" or the Beach Boys' "Dance Dance Dance" and "Fun Fun Fun", but with two sets of brackets: the potential example he gave, appropriately enough, was "(Yeah) Yeah (Yeah)". Richard Williams -------------------[ archived by Spectropop ]-------------------
Message: 27 Date: Thu, 01 Jan 2004 08:10:34 -0500 From: Joe Nelson Subject: Re: Ron Dante About a year and a half ago, I'd seen a message in the S'pop archives indicating that Ron was the lead singer on the Definitive Rock Chorale's great "Mirrors of Your Mind". I contacted Ron through a mutual friend and he said he was sorry, but he couldn't remember the record. Damn. Joe Nelson -------------------[ archived by Spectropop ]-------------------
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